Swiss International Style

Poster by Armin Hofmann (Image from citrinitas.com)

The Swiss International Style, also known as the International Typographic style, was an extension of Bauhaus principles and was developed in Switzerland during the 1950’s after World War II. The style has roots from 1918 when designer and teacher Ernst Keller from the Zurich School of Arts and Crafts experimented and created a design system characterized by a rigid grid format, structured layout, and unjustified type. The order and precision in this art style seemed to discourage individuality; however, many artists soon proved that wrong.

Leaders of SIS merged bits and pieces of what they’ve learned about New Typography, Bauhaus, and De Stijl and refined the style into something that would revolutionize graphic design. This SIS placed emphasis on cleanliness, readability and objectivity. The particular characteristics of the style included the use of type as a design element, unjustified text, grid structures, sans serif font faces, simplicity, asymmetric layouts, black and white photography, and clear and objective designs. Fonts such as Akzidenz Grotesk, Helvetica, and Univers were created and heavily used at this time. The SIS was concerned with communication and successfully became the look of Swiss poster and advertising design. Corporations needed international identification in the increasingly global postwar marketplace, and the Swiss International Style was able to provide a solution.

Off the wall

This new project by German designer Kicki Edgren Nyborg of Kredama design studio fascinatingly utilizes 3-D and relief in interior design. The geometric pattern in the wallpaper allows for a very smooth integration 3-D objects. The popping-out element used in the two examples above creates a very surprising and almost surreal effect. The pop-out in the second image almost seems as if it’s floating in the mid-air because of the light behind it and the color contrast. The principles of color theory can be applied here. Even though the colors in the pop-out are essentially the same as the the ones on the wall, it appears so different because of the lighting effects.

This piece shows a shelf, which is actually a wave-shaped relief on the wall. The addition of the 3-D helps bring the wallpaper to life. It almost feels as if the the stripes are gradually rolling down the wall. The calm green color conveys a feeling of peace and tranquility. This not only creates an element of surprise but also serves a decorative storage function.

Color theory

Josef Albers’ color theory states that colors cannot simply be perceived on their own. They are always affected by their interaction with surrounding colors. Colors can behave differently if placed in different environments. Take for example this red block placed in the middle of other different colored blocks:

(Image © Color Voodoo Publications)

Even though it’s the same color of red in all four blocks, it appears to look different in each situation. Compared to the black and white blocks, the red appears much dimmer in the orange and turquoise blocks and almost seems to blend in with the orange one. This happens because the contrast between the colors is stronger in the black and white example.

Optical illusions can also happen because of colors.

(Image from wikipedia.org)

In this image, one solid block of gray is spread out across a gray gradient. The gray block appears to be its own gradient, lighter in the left half but darker in the right half, even though it’s actually the same color on both sides. This example goes to show how one color can behave so differently when it interacts with a range of different colors; the appearance of that color is affected by the surrounding colors.

Ban Comic Sans?

“If you love it, you don’t know much about typography. And if you hate it, you don’t know much about typography either, and you should get another hobby. ” – Vincent Connare.

(Image from joemissouri.wordpress.com)

It’s quite entertaining to see how design and typography evolves. Comic Sans was a typeface that Vincent Connare created in 1995 after seeing Times New Roman used in the speech bubbles of a cartoon. He wanted something more fitting for a situation and was influenced by the lettering style of comic books to create this new font. However, he did was not expecting such an explosion in the use of his font after it was bought by Microsoft and included in the package of default fonts for MS Word. In the years to follow, the font was suddenly being used everywhere: fliers, posters, signs, store logos, etc. Now, there’s even many anti-Comic Sans groups out there aiming to counteract this overuse of ridiculous font.

As much as it’s overused, there should be no reason to hate a font. A font is, after all, a tool that can either make or break a good design. The real problem is that people need to learn how to properly utilize fonts and let fonts serve their true purpose. Comic Sans may look terrible on a sign for a steak restaurant; however, it could also be very suitable if it’s used on the children’s menu.

Sustainable design

(Image from coverbrowser.com)

Nathan Shedroff, a pioneer of experience design from the California College of the Arts, gave a lecture about sustainable design in our class last Wednesday. One thing that he stressed most about in his speech was the fact that good design and sustainable design is useful design. Many times, the objects that designers create are things that we can live without in this world. They only contribute to materialism and growing waste.

A good example he gave was cellphones. We could still be using the same cellphone that we had three years ago, but instead, we’ve gone through about five in the meantime. New, flashy electronics come out every year and promote us to buy, buy, buy, and increase our materialistic natures. However, good designs in cellphones are the ones that can actually make a difference in our lives. The Apple Iphone combines the function of a phone, a PDA, a camera, a watch, a music player, and more. By having this, we no longer need to spend extra money to have each of those separate functions.

Also, to increase sustainability, designers need to consider future disposal during the creation process. In reality, nothing can be permanent. Apple does a good job of this. Instead of using plastic, they have switched to using more aluminum because it’s recyclable.

Truthfully speaking, 100% sustainability does not exist. However, good design can help make the world more sustainable than it is today.

Objectified

(Image from objectifiedfilm.com)

Today we watched Gary Hustwit’s documentary Objectified in class, and the film pointed out some interesting concepts about contemporary product design. Through his interviews with many designers from all over the world, he shows their design processes and highlights some of the goals and constraints of modern design.

With the first two interviews, featuring the company redesigning potato peelers and Apple, Hustwit communicates the idea of designing with the purpose to make more practical. The point is not to consider the common people but rather the minority. If the minority, people who have special conditions such as arthritis or are handicapped, can easily use the products, than it will work out for the majority. In addition, according to the representative of Apple, the goal of modern design is to simplify, to take out unnecessary parts, all the while making optimal use of all the material. He showed us how the extra aluminum cut from a monitor frame is used for the keyboard frame of a Macbook Air.

There are also the constraints of modern design discussed in the film. Life is no longer like how it was back in the days of the Eames. Designers can no longer make things without considering where their products will be and disposed of in the future. Hustwit points out whether or not products should be designed to be permanent, even though we all know things are thrown away in the years because we’re constantly yearning for new things. Sustainability was an issue constantly in the film.